Why glass towers are bad for city life -- and what we need instead | Justin Davidson

253,319 views ใƒป 2017-07-11

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Jeongguk Jang ๊ฒ€ํ† : Gichung Lee
00:12
Imagine that when you walked in here this evening,
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์˜ค๋Š˜ ์ €๋… ๊ฐ•์—ฐ์žฅ์— ์˜ค์…จ์„ ๋•Œ ์ด๋Ÿฐ ์ผ์ด ๋ฒŒ์–ด์กŒ๋‹ค๊ณ  ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
00:15
you discovered that everybody in the room looked almost exactly the same:
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์ด ๋ฐฉ์— ์žˆ๋Š” ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์ด ์ •๋ง ๋˜‘๊ฐ™์ด ์ƒ๊ธด ๊ฑฐ์˜ˆ์š”.
00:20
ageless, raceless,
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์—ฐ๋ น์ด๋‚˜ ํ”ผ๋ถ€์ƒ‰
00:22
generically good-looking.
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์ž˜ ์ƒ๊ธด ์™ธ๋ชจ๊นŒ์ง€ ๋ง์ด์ฃ .
00:24
That person sitting right next to you
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์ž์‹ ์˜ ์˜†์— ์•‰์€ ์‚ฌ๋žŒ์ด
00:26
might have the most idiosyncratic inner life,
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์ „ํ˜€ ๋‚จ๋‹ค๋ฅธ ๋‚ด๋ฉด์„ ๊ฐ€์ง„ ์ธ๋ฌผ์ด๋ผ ํ• ์ง€๋ผ๋„
00:28
but you don't have a clue
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์ ˆ๋Œ€ ๊ทธ๊ฑธ ์•Œ์•„์ฑ„์ง€ ๋ชปํ•  ๊ฒ๋‹ˆ๋‹ค.
00:29
because we're all wearing the same blank expression all the time.
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๋‹ค๋“ค ๊ฐ™์€ ์˜ท์—, ์‹œ์ข…์ผ๊ด€ ๋ฌดํ‘œ์ •์ด๋‹ˆ ๋ง์ด์ง€์š”.
00:34
That is the kind of creepy transformation that is taking over cities,
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์ด๋Ÿฐ ์„ฌ๋œฉํ•œ ๋ณ€ํ™”๊ฐ€ ์ง€๊ธˆ ๋„์‹œ์—์„œ๋„ ์ผ์–ด๋‚˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:39
only it applies to buildings, not people.
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์‚ฌ๋žŒ์ด ์•„๋‹ˆ๋ผ, ๊ฑด๋ฌผ์— ๋‚˜ํƒ€๋‚˜๊ณ  ์žˆ์ฃ .
00:43
Cities are full of roughness and shadow,
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๋„์‹œ๋Š”
๋‹ค์†Œ ๊ฑฐ์นœ๋ฉด๊ณผ ๊ทธ๋ฆผ์ž, ๋‹ค์–‘ํ•œ ์งˆ๊ฐ๊ณผ ์ƒ‰์ƒ์ด ์กด์žฌํ•˜๋Š” ๊ณณ์ž…๋‹ˆ๋‹ค.
00:49
texture and color.
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00:50
You can still find architectural surfaces of great individuality and character
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์•„์ง๋„ ์—ฌ๋Ÿฌ ๋„์‹œ์—์„œ ๋…ํŠนํ•œ ๊ฐœ์„ฑ๊ณผ ํŠน์ง•์„ ๊ฐ€์ง„ ๊ฑด์ถ•๋ฌผ์„ ์ฐพ์•„๋ณผ ์ˆ˜ ์žˆ์ฃ .
00:57
in apartment buildings in Riga
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๋ฆฌ๊ฐ€์˜ ์•„ํŒŒํŠธ ๊ฑด๋ฌผ
00:59
and Yemen,
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์—๋ฉ˜๋„ ๋งˆ์ฐฌ๊ฐ€์ง€๊ณ ์š”.
01:02
social housing in Vienna,
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๋น„์—”๋‚˜์˜ ๊ณต๊ณต์ž„๋Œ€ ์ฃผํƒ
01:04
Hopi villages in Arizona,
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์• ๋ฆฌ์กฐ๋‚˜์˜ ํ˜ธํ”ผ์กฑ ๋งˆ์„
01:07
brownstones in New York,
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๋‰ด์š•์˜ ๋ธŒ๋ผ์šด์Šคํ†ค
01:09
wooden houses in San Francisco.
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์ƒŒํ”„๋ž€์‹œ์Šค์ฝ”์˜ ๋ชฉ์žฌ๊ฐ€์˜ฅ์ž…๋‹ˆ๋‹ค.
01:11
These aren't palaces or cathedrals.
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์ด๋“ค์€ ๊ถ์ „์ด๋‚˜ ์„ฑ๋‹น์ด ์•„๋‹™๋‹ˆ๋‹ค.
01:13
These are just ordinary residences
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ํ‰๋ฒ”ํ•œ ์ฃผ๊ฑฐ์ง€์— ๋ถˆ๊ณผํ•˜์ง€๋งŒ
01:15
expressing the ordinary splendor of cities.
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๊ทธ ๋„์‹œ์˜ ํ‰์†Œ ๋ฉ‹์ง„ ๋ชจ์Šต์„ ์ถฉ๋ถ„ํžˆ ๋“œ๋Ÿฌ๋‚ด๊ณ  ์žˆ์ฃ .
01:19
And the reason they're like that is that the need for shelter
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์ด๋Ÿฐ ๋„์‹œ๋“ค์ด ๋ฉ‹์ ธ ๋ณด์ด๋Š” ์ด์œ ๋Š” ๊ฑฐ์ฃผ์ง€์— ๋Œ€ํ•œ ์ธ๊ฐ„์˜ ์š•๊ตฌ๊ฐ€
01:22
is so bound up with the human desire for beauty.
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๋ฏธ๋ฅผ ์ถ”๊ตฌํ•˜๋Š” ๋ณธ์„ฑ๊ณผ ๊ธด๋ฐ€ํ•˜๊ฒŒ ์—ฐ๊ด€๋˜์–ด ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
01:28
Their rough surfaces give us a touchable city.
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์šฐ๋ฆฌ๋Š” ๊ฑด์ถ•๋ฌผ์˜ ๊ฑฐ์นœ ํ‘œ๋ฉด์„ ํ†ตํ•ด ์ด‰๊ฐ์œผ๋กœ ๋„์‹œ๋ฅผ ๋Š๋‚„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:32
Right? Streets that you can read
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์˜ˆ๋ฅผ ๋“ค์–ด ๋ฒฝ๋Œ๊ณผ ๋Œ๋“ค์„ ๋”ฐ๋ผ
01:34
by running your fingers over brick and stone.
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์†์„ ํ›‘๋‹ค๋ณด๋ฉด ๊ฑฐ๋ฆฌ๋ฅผ ๊ทธ๋Œ€๋กœ ๋Š๋‚„ ์ˆ˜ ์žˆ์ž–์•„์š”.
01:37
But that's getting harder to do,
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ํ•˜์ง€๋งŒ ์ด์ œ ๊ทธ๋Ÿด ์ˆ˜ ์—†์„ ๊ฒ๋‹ˆ๋‹ค.
01:40
because cities are becoming smooth.
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๋„์‹œ๊ฐ€ ๋งค๋„๋Ÿฌ์šด ๋ฉด์œผ๋กœ ๋ฐ”๋€Œ๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
01:43
New downtowns sprout towers
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์ƒˆ๋กœ์šด ๋ฒˆํ™”๊ฐ€์— ๋“ค์–ด์„œ๋Š” ๊ฑด๋ฌผ๋“ค์€
01:45
that are almost always made of concrete and steel
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๊ฑฐ์˜ ํ•œ๊ฒฐ๊ฐ™์ด ์ฝ˜ํฌ๋ฆฌํŠธ์™€ ์ฒ ์ œ ๊ตฌ์กฐ๋กœ ์ง€์€ ๋’ค์—
01:47
and covered in glass.
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์™ธ๋ถ€๋ฅผ ์œ ๋ฆฌ๋กœ ๊ฐ์‹ธ๋ฒ„๋ฆฌ์ฃ .
01:50
You can look at skylines all over the world --
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์„ธ๊ณ„ ๊ณณ๊ณณ์˜ ์Šค์นด์ด๋ผ์ธ์„ ํ•œ๋ฒˆ ๋ณด์„ธ์š”.
01:53
Houston,
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ํœด์Šคํ„ด
01:55
Guangzhou,
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๊ด‘์ €์šฐ
01:57
Frankfurt --
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ํ”„๋ž‘ํฌํ”„๋ฃจํŠธ
01:59
and you see the same army of high-gloss robots
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๋˜‘๊ฐ™์€ ๋ชจ์Šต์˜ ๊ณ ๊ด‘ํƒ ๋กœ๋ด‡๋“ค์ด ์ง€ํ‰์„  ์œ„๋ฅผ ํ–‰์ง„ํ•˜๋Š” ๊ฒƒ ๊ฐ™๊ตฐ์š”.
02:02
marching over the horizon.
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02:05
Now, just think of everything we lose
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๊ทธ๋Ÿผ ์šฐ๋ฆฌ๋Š” ๋ฌด์—‡์„ ์žƒ๊ฒŒ ๋ ๊นŒ์š”?
02:07
when architects stop using the full range of available materials.
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๊ฑด์ถ•๊ฐ€๋“ค์ด ๋‹ค์–‘ํ•œ ์žฌ๋ฃŒ๋ฅผ ์“ฐ์ง€ ์•Š์„ ๋•Œ ์šฐ๋ฆฌ๊ฐ€ ์žƒ๊ฒŒ ๋  ๊ฒƒ๋“ค์„ ์ƒ๊ฐํ•ด๋ณด์„ธ์š”.
02:12
When we reject granite and limestone and sandstone
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ํ™”๊ฐ•์•”์ด๋‚˜ ์„ํšŒ์•”, ์‚ฌ์•”์„ ์“ฐ์ง€ ์•Š๊ณ 
02:16
and wood and copper and terra-cotta and brick
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๋‚˜๋ฌด, ๊ตฌ๋ฆฌ, ์ ํ† , ๋ฒฝ๋Œ, ์š‹๊ฐ€์ง€, ํšŒ๋ฐ˜์ฃฝ ๊ฐ™์€ ์žฌ๋ฃŒ๋ฅผ ์“ฐ์ง€ ์•Š์œผ๋ฉด
02:18
and wattle and plaster,
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02:20
we simplify architecture
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๊ฑด์ถ•์˜ ๋‹ค์–‘์„ฑ์ด ์‚ฌ๋ผ์ง€๊ณ 
02:23
and we impoverish cities.
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๋„์‹œ๋„ ๋งค๋ ฅ์„ ์žƒ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:25
It's as if you reduced all of the world's cuisines
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์ด๊ฑด ๋งˆ์น˜ ์—ฌ๋Ÿฌ ๋‚˜๋ผ์˜ ์˜จ๊ฐ– ์‚ฐํ•ด์ง„๋ฏธ๋“ค์„
02:29
down to airline food.
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๊ธฐ๋‚ด์‹์œผ๋กœ ๋ฐ”๊พธ๋Š” ๊ฒƒ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
02:31
(Laughter)
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(์›ƒ์Œ)
02:32
Chicken or pasta?
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์น˜ํ‚จ ๋“œ๋ฆด๊นŒ์š”? ์•„๋‹ˆ๋ฉด ํŒŒ์Šคํƒ€?
02:35
But worse still,
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๋” ์‹ฌํ•œ ์‚ฌ์‹ค์€
02:37
assemblies of glass towers like this one in Moscow
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๋ชจ์Šคํฌ๋ฐ”์— ์žˆ๋Š” ์œ ๋ฆฌ ๊ฑด๋ฌผ๋“ค์„ ๋ณด๋ฉด
02:41
suggest a disdain for the civic and communal aspects of urban living.
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๋„์‹œ ์ƒํ™œ์˜ ๊ณต๋™์ฒด์  ์ธก๋ฉด์„ ๊ต‰์žฅํžˆ ์†Œํ™€ํ•˜๊ฒŒ ์—ฌ๊ธด ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
02:46
Right? Buildings like these are intended to enrich their owners and tenants,
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์ด๋Ÿฐ ๊ฑด๋ฌผ๋“ค์€ ๋‹ค๋ถ„ํžˆ ๊ฑด๋ฌผ์ฃผ๋‚˜ ๊ฑด๋ฌผ์— ์‚ฌ๋Š” ์‚ฌ๋žŒ๋งŒ์„ ์œ„ํ•œ ๊ฒ๋‹ˆ๋‹ค.
02:51
but not necessarily the lives of the rest of us,
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ์‚ถ์€ ์ „ํ˜€ ๊ณ ๋ คํ•˜์ง€ ์•Š์•˜์ฃ .
02:53
those of us who navigate the spaces between the buildings.
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๊ฑด๋ฌผ ์‚ฌ์ด์˜ ๊ณต๊ฐ„์„ ์˜ค๊ฐ€๋Š” ์šฐ๋ฆฌ์˜ ์ƒํ™œ์€ ๋ฌด์‹œ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
02:58
And we expect to do so for free.
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์šฐ๋ฆฌ์—๊ฒŒ๋Š” ์ž์œ ๋กญ๊ฒŒ ๋‹ค๋‹ ๊ถŒ๋ฆฌ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
03:01
Shiny towers are an invasive species
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๋น›๋‚˜๋Š” ์œ ๋ฆฌ ๊ฑด๋ฌผ๋“ค์ด ๊ธ‰์†ํ•˜๊ฒŒ ํผ์ง€๋ฉด์„œ
03:04
and they are choking our cities and killing off public space.
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๋„์‹œ์˜ ์ˆจํ†ต์„ ์กฐ์ด๊ณ  ๊ณต์šฉ ๊ณต๊ฐ„์„ ๋นผ์•—๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:09
We tend to think of a facade as being like makeup,
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์šฐ๋ฆฌ๋Š” ๊ฑด๋ฌผ์˜ ์™ธ๊ด€์„ ๋ฉ”์ดํฌ์—…์ฒ˜๋Ÿผ ์ƒ๊ฐํ•ด์„œ
03:12
a decorative layer applied at the end to a building that's effectively complete.
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์‚ฌ์‹ค์ƒ ์™„์„ฑ๋œ ๊ฑด๋ฌผ์˜ ๋งˆ์ง€๋ง‰ ๋‹จ๊ณ„์— ์˜ฌ๋ฆฌ๋Š” ์žฅ์‹์ฒ˜๋Ÿผ ์—ฌ๊น๋‹ˆ๋‹ค.
03:16
But just because a facade is superficial
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ํ•˜์ง€๋งŒ ๊ฒ‰์œผ๋กœ ๋“œ๋Ÿฌ๋‚œ ๊ฑด๋ฌผ์˜ ์™ธ๋ฉด์€
03:19
doesn't mean it's not also deep.
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์ค‘์š”ํ•œ ์˜๋ฏธ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:21
Let me give you an example
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์˜ˆ๋ฅผ ๋“ค์–ด ๋ณผ๊นŒ์š”.
03:24
of how a city's surfaces affect the way we live in it.
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ํ•œ ๋„์‹œ์˜ ์™ธ๊ด€์ด ์šฐ๋ฆฌ ์‚ถ์— ๋ฏธ์น˜๋Š” ์˜ํ–ฅ์— ๋Œ€ํ•œ ์‚ฌ๋ก€์ž…๋‹ˆ๋‹ค.
03:27
When I visited Salamanca in Spain,
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์ŠคํŽ˜์ธ ์‚ด๋ผ๋ง์นด์— ๊ฐ”์„ ๋•Œ์˜ ์ผ์ž…๋‹ˆ๋‹ค.
03:29
I gravitated to the Plaza Mayor
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๋งˆ์š”๋ฅด ๊ด‘์žฅ์— ์ž์—ฐํžˆ ๋Œ๋ฆฌ๋”๊ตฐ์š”.
03:32
at all hours of the day.
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์˜จ ์ข…์ผ ๋จธ๋ฌผ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
03:33
Early in the morning, sunlight rakes the facades,
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์ด๋ฅธ ์•„์นจ์ด๋ฉด ํ–‡์‚ด์ด ์ฒœ์ฒœํžˆ ๊ฑด๋ฌผ์„ ๋น„์ถ”๊ธฐ ์‹œ์ž‘ํ•˜๋ฉด์„œ
03:36
sharpening shadows,
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๊ทธ๋ฆผ์ž๊ฐ€ ์„ ๋ช…ํžˆ ๋‚˜ํƒ€๋‚ฉ๋‹ˆ๋‹ค.
03:38
and at night, lamplight segments the buildings
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๋ฐค์ด ๋˜๋ฉด ์กฐ๋ช… ๋น›์ด ๊ฑด๋ฌผ์„ ๋‚˜๋ˆ„์–ด
03:41
into hundreds of distinct areas,
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์ˆ˜๋ฐฑ ๊ฐ€์ง€์˜ ๊ณต๊ฐ„์ด ๋šœ๋ ท์ด ๋“œ๋Ÿฌ๋‚˜์ฃ .
03:44
balconies and windows and arcades,
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๋ฐœ์ฝ”๋‹ˆ, ์ฐฝ๋ฌธ, ์•„์ผ€์ด๋“œ๊นŒ์ง€
03:46
each one a separate pocket of visual activity.
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๊ฐ๊ฐ์˜ ๊ณต๊ฐ„์ด ๋…๋ฆฝ์ ์ธ ์‹œ๊ฐ์  ์ฒดํ—˜์„ ์ œ๊ณตํ•ฉ๋‹ˆ๋‹ค.
03:50
That detail and depth, that glamour
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๊ทธ ์„ฌ์„ธํ•˜๊ณ  ๋†๋ฐ€ํ•œ ๊ด‘๊ฒฝ์€
03:54
gives the plaza a theatrical quality.
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๊ด‘์žฅ์„ ํ•˜๋‚˜์˜ ๋ฌด๋Œ€๋กœ ๋งŒ๋“ค์–ด ๋ฒ„๋ฆฝ๋‹ˆ๋‹ค.
03:58
It becomes a stage where the generations can meet.
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๋ชจ๋“  ์„ธ๋Œ€๊ฐ€ ์–ด์šธ๋ฆด ์ˆ˜ ์žˆ๋Š” ๋ฌด๋Œ€์ฃ .
04:01
You have teenagers sprawling on the pavers,
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๊ธธ ์œ„์— ์ž์œ ๋กœ์ด ๋“œ๋Ÿฌ๋ˆ„์šด ์‹ญ๋Œ€๋“ค์ด๋‚˜
04:05
seniors monopolizing the benches,
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๋ฒค์น˜์— ์•‰์•„ ๋Š๊ธ‹ํ•˜๊ฒŒ ์‰ฌ๊ณ  ์žˆ๋Š” ๋…ธ์ธ๋“ค
04:08
and real life starts to look like an opera set.
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์ผ์ƒ์ด ํ•˜๋‚˜์˜ ์˜คํŽ˜๋ผ ๋ฌด๋Œ€์ฒ˜๋Ÿผ ๋ณด์ด๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
04:12
The curtain goes up on Salamanca.
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์‚ด๋ผ๋ง์นด์—์„œ๋Š” ๋Š˜์ƒ ๊ทธ๋Ÿฐ ๋ฌด๋Œ€๊ฐ€ ์—ด๋ฆฝ๋‹ˆ๋‹ค.
04:15
So just because I'm talking about the exteriors of buildings,
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์ œ๊ฐ€ ์ง€๊ธˆ ๋ง์”€๋“œ๋ฆฌ๋Š” ๋ถ€๋ถ„์€ ๋‹จ์ˆœํžˆ ๊ฑด๋ฌผ์˜ ์™ธ๊ด€ ๋ฟ์ž…๋‹ˆ๋‹ค.
04:20
not form, not function, not structure,
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ํ˜•ํƒœ๋‚˜ ๊ธฐ๋Šฅ, ๊ตฌ์กฐ์— ๊ด€ํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๊ณ ์š”.
04:24
even so those surfaces give texture to our lives,
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๊ทธ๋Ÿผ์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ๊ฑด๋ฌผ์˜ ์™ธ๊ด€์€ ์šฐ๋ฆฌ ์ผ์ƒ์„ ํ’์„ฑํ•˜๊ฒŒ ํ•ด์ค๋‹ˆ๋‹ค.
04:29
because buildings create the spaces around them,
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์™œ๋ƒํ•˜๋ฉด ๊ฑด๋ฌผ์€ ์ฃผ๋ณ€์˜ ๊ณต๊ฐ„์„ ์ฐฝ์กฐํ•˜๊ณ 
04:32
and those spaces can draw people in
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์‚ฌ๋žŒ๋“ค์„ ๊ทธ๊ณณ์œผ๋กœ ๋Œ์–ด๋“ค์ด๊ฑฐ๋‚˜
04:35
or push them away.
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๋ฐ–์œผ๋กœ ๋‚ด๋ชฐ๊ธฐ๋„ ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
04:37
And the difference often has to do with the quality of those exteriors.
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๊ทธ ์ฐจ์ด๋Š” ๊ฒ‰์œผ๋กœ ๋“œ๋Ÿฌ๋‚˜๋Š” ์™ธ๊ด€์˜ ์งˆ์ ์ธ ๋ถ€๋ถ„๊ณผ ๊ด€๋ จ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
04:40
So one contemporary equivalent of the Plaza Mayor in Salamanca
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์‚ด๋ผ๋ง์นด์˜ ๋งˆ์š”๋ฅด ๊ด‘์žฅ๊ณผ ๋น„๊ต๋˜๋Š” ๊ณณ์ด ์žˆ์ฃ .
04:44
is the Place de la Dรฉfense in Paris,
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ํŒŒ๋ฆฌ ๋ถ€๋„์‹ฌ์ธ ๋ผ๋ฐํŒก์Šค์ž…๋‹ˆ๋‹ค.
04:47
a windswept, glass-walled open space
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๋Œํ’์— ์ทจ์•ฝํ•œ ์œ ๋ฆฌ๋กœ ๋œ ์—ด๋ฆฐ ๊ณต๊ฐ„์ธ๋ฐ์š”.
04:51
that office workers hurry through
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ํšŒ์‚ฌ์›๋“ค์€ ๋Œ€๊ฐœ ์„œ๋‘˜๋Ÿฌ ๊ทธ๊ณณ์„ ์ง€๋‚˜์นฉ๋‹ˆ๋‹ค.
04:53
on the way from the metro to their cubicles
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๊ณง๋ฐ”๋กœ ์ง€ํ•˜์ฒ ์—์„œ ์ž์‹ ๋“ค์˜ ์‚ฌ๋ฌด์‹ค๋กœ ํ–ฅํ•  ๋ฟ์ด์ฃ .
04:55
but otherwise spend as little time in as possible.
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๊ทธ ์™ธ์— ์ด๊ณณ์—์„œ ๋จธ๋ฌด๋Š” ๊ฒƒ์„ ์ข€์ฒ˜๋Ÿผ ๋ณด๊ธฐ ํž˜๋“ญ๋‹ˆ๋‹ค.
04:59
In the early 1980s, the architect Philip Johnson
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1980๋…„๋Œ€ ์ดˆ์— ๊ฑด์ถ•๊ฐ€ ํ•„๋ฆฝ ์กด์Šจ์€
05:03
tried to recreate a gracious European plaza in Pittsburgh.
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ํ”ผ์ธ ๋ฒ„๊ทธ์— ์šฐ์•„ํ•œ ์œ ๋Ÿฝํ˜• ๊ด‘์žฅ์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•œ ์‹œ๋„๋ฅผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:07
This is PPG Place,
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๋ฐ”๋กœ PPG ๊ด‘์žฅ์ด์ฃ .
05:09
a half acre of open space encircled by commercial buildings
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๊ฐ์ข… ์ƒ๊ฐ€๊ฐ€ ์ฃผ๋ณ€์„ ๋‘˜๋Ÿฌ ์‹ธ๊ณ  ์žˆ๋Š” ์•ฝ 2000 ํ‰๋ฐฉ๋ฏธํ„ฐ ๋ฉด์ ์˜ ๊ณต๊ฐ„์ž…๋‹ˆ๋‹ค.
05:14
made of mirrored glass.
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๊ฑด๋ฌผ์€ ๋ฐ˜์‚ฌ์œ ๋ฆฌ๋กœ ๋งˆ๊ฐ๋˜์—ˆ์ฃ .
05:15
And he ornamented those buildings with metal trim and bays
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๊ฑด๋ฌผ์˜ ๋ชจ์„œ๋ฆฌ ๋ถ€๋ถ„์€ ๊ธˆ์†์œผ๋กœ ๋งˆ๊ฐ ์žฅ์‹์„ ํ–ˆ๊ณ 
05:19
and Gothic turrets
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๊ณ ๋”•ํƒ‘ ๋ชจ์–‘์˜ ์žฅ์‹์ด
05:21
which really pop on the skyline.
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ํ•˜๋Š˜ ์œ„๋กœ ์œค๊ณฝ์„ ์ด๋ฃจ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
05:23
But at ground level,
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ํ•˜์ง€๋งŒ ์ง€์ƒ์—์„œ์˜ ๋ชจ์Šต์€
05:26
the plaza feels like a black glass cage.
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๋งˆ์น˜ ๊ฒ€์€ ์œ ๋ฆฌ๋กœ ๋œ ์ƒˆ์žฅ์ฒ˜๋Ÿผ ๋Š๊ปด์ง‘๋‹ˆ๋‹ค.
05:29
I mean, sure, in summertime
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๋ฌผ๋ก  ์—ฌ๋ฆ„์—๋Š”
05:31
kids are running back and forth through the fountain
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์•„์ด๋“ค์ด ๋ถ„์ˆ˜๋ฅผ ์˜ค๊ฐ€๋ฉฐ ๋›ฐ์–ด๋‹ค๋‹ˆ๊ธฐ๋„ ํ•˜๊ณ 
05:34
and there's ice-skating in the winter,
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๊ฒจ์šธ์ด๋ฉด ์Šค์ผ€์ดํŠธ๋ฅผ ํƒ€๊ธฐ๋„ ํ•˜์ฃ .
05:36
but it lacks the informality of a leisurely hangout.
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๊ทธ๋Ÿผ์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ , ์ด ๊ณณ์€ ํŽธ์•ˆํ•˜๊ณ  ๋Š๊ธ‹ํ•˜๊ฒŒ ์‹œ๊ฐ„์„ ๋ณด๋‚ด๊ธฐ๊ฐ€ ์–ด๋ ต์Šต๋‹ˆ๋‹ค.
05:39
It's just not the sort of place you really want to just hang out and chat.
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์‚ฌ๋žŒ๋“ค์ด ๋ชจ์—ฌ ์‰ฌ๊ฑฐ๋‚˜ ๋Œ€ํ™”๋ฅผ ๋‚˜๋ˆ„๋Š” ๊ทธ๋Ÿฐ ๋ฅ˜์˜ ๊ณต๊ฐ„์ด ์ „ํ˜€ ์•„๋‹ˆ๊ฑฐ๋“ ์š”.
05:47
Public spaces thrive or fail for many different reasons.
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์—ฌ๋Ÿฌ ์‚ฌ๋žŒ์ด ๋ชจ์ด๋Š” ์žฅ์†Œ๋Š” ์—ฌ๋Ÿฌ ์ด์œ ๋กœ ๋ฒˆ์˜ํ•˜๊ฑฐ๋‚˜ ์‚ฌ๋ผ์ง‘๋‹ˆ๋‹ค.
05:51
Architecture is only one,
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๊ฑด์ถ•๋ฌผ๋„ ๊ทธ ์ค‘ ํ•˜๋‚˜์ผ ๋ฟ์ด์ง€์š”.
05:53
but it's an important one.
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ํ•˜์ง€๋งŒ ๊ฒฐ์ •์ ์ธ ์š”์†Œ์ž„์—๋Š” ํ‹€๋ฆผ์—†์Šต๋‹ˆ๋‹ค.
05:55
Some recent plazas
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์ตœ๊ทผ์— ์ƒ๊ฒจ๋‚œ ๊ด‘์žฅ๋“ค์„ ๋ณด๋ฉด
05:57
like Federation Square in Melbourne
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ํ˜ธ์ฃผ ๋งฌ๋ฒ„๋ฅธ์˜ ํŽ˜๋”๋ ˆ์ด์…˜ ๊ด‘์žฅ์ด๋‚˜
06:00
or Superkilen in Copenhagen
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๋ด๋งˆํฌ ์ฝ”ํŽœํ•˜๊ฒ์˜ ์Šˆํผํ‚ฌ๋ Œ ๊ณต์› ๊ฐ™์€ ๊ณณ์€
06:03
succeed because they combine old and new,
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์ „ํ†ต๊ณผ ํ˜„๋Œ€๊ฐ€ ์„ฑ๊ณต์ ์œผ๋กœ ์กฐํ™”๋ฅผ ์ด๋ฃจ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:07
rough and smooth,
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๋ถ€๋“œ๋Ÿฌ์›€๊ณผ ๊ฑฐ์นจ
06:09
neutral and bright colors,
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๋ฌด์ฑ„์ƒ‰๊ณผ ๋ฐ์€ ์ƒ‰์ฑ„๊ฐ€ ์กฐํ™”๋ฅผ ์ด๋ฃจ๊ณ 
06:11
and because they don't rely excessively on glass.
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์œ ๋ฆฌ์žฌ๋งŒ์„ ์ง€๋‚˜์น˜๊ฒŒ ๊ณ ์ง‘ํ•˜์ง€๋„ ์•Š์ฃ .
06:15
Now, I'm not against glass.
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์ €๋Š” ์œ ๋ฆฌ์žฌ ์‚ฌ์šฉ์„ ๋ฐ˜๋Œ€ํ•˜์ง€๋Š” ์•Š์•„์š”.
06:19
It's an ancient and versatile material.
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์˜ค๋ž˜์ „๋ถ€ํ„ฐ ์‚ฌ์šฉ๋œ ๋‹ค์žฌ๋‹ค๋Šฅํ•œ ๊ฑด์ถ• ์žฌ๋ฃŒ์ฃ .
06:23
It's easy to manufacture and transport
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์ œ์กฐ๋‚˜ ์šด๋ฐ˜๋„ ์‰ฝ์Šต๋‹ˆ๋‹ค.
06:27
and install and replace
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์„ค์น˜๋‚˜ ๊ต์ฒด๋„ ๊ฐ„ํŽธํ•˜์ฃ .
06:29
and clean.
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๊นจ๋—ํ•˜๊ตฌ์š”.
06:31
It comes in everything from enormous, ultraclear sheets
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์ ์šฉ ๋ฒ”์œ„๋Š” ๋Œ€ํ˜• ๊ณ ๊ด‘ํƒ ํŒจ๋„๋ถ€ํ„ฐ
06:34
to translucent bricks.
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๋ฐ˜ํˆฌ๋ช…ํ•œ ๋ฒฝ๋Œ๊นŒ์ง€ ๋‹ค์–‘ํ•ฉ๋‹ˆ๋‹ค.
06:37
New coatings make it change mood
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์ฝ”ํŒ… ์ฒ˜๋ฆฌ๋ฅผ ์ƒˆ๋กœ ํ•˜๋ฉด ๋ถ„์œ„๊ธฐ๋„ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ๊ณ 
06:39
in the shifting light.
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์ƒ‰์ƒ๋„ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:41
In expensive cities like New York, it has the magical power
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๋‰ด์š• ๊ฐ™์€ ๊ณ ๋น„์šฉ์˜ ๋„์‹œ์—์„œ๋Š” ์ด๋Ÿฐ ์ ์ด ๋งˆ์น˜ ๋งˆ๋ฒ•์ฒ˜๋Ÿผ ์ž‘์šฉํ•ฉ๋‹ˆ๋‹ค.
06:44
of being able to multiply real estate values by allowing views,
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์กฐ๋ง ํšจ๊ณผ๊ฐ€ ์ปค์ง€๋ฉด์„œ ๋ถ€๋™์‚ฐ ๊ฐ€์น˜๊ฐ€ ๋ฐฐ๊ฐ€๋˜์ฃ .
06:48
which is really the only commodity that developers have to offer
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์ง€์—ญ๊ฐœ๋ฐœ์ž ์ž…์žฅ์—์„œ๋Š” ๊ทธ ์ ์„ ์œ ์ผํ•˜๊ฒŒ ๋ถ€๊ฐ์‹œ์ผœ
06:51
to justify those surreal prices.
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๋ง๋„ ์•ˆ๋˜๋Š” ๊ฐ€๊ฒฉ์„ ์ •๋‹นํ™”์‹œํ‚ค๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:56
In the middle of the 19th century,
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19์„ธ๊ธฐ ์ค‘๋ฐ˜์œผ๋กœ ํ•œ๋ฒˆ ๊ฐ€๋ณด์ฃ .
06:58
with the construction of the Crystal Palace in London,
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๋Ÿฐ๋˜์˜ ํฌ๋ฆฌ์Šคํƒˆ ๊ถ์ „์˜ ๊ฑด์ถ• ๊ณผ์ •์„ ์‚ดํŽด๋ณด๋ฉด
07:00
glass leapt to the top of the list of quintessentially modern substances.
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์ด ์‹œ๊ธฐ์— ์œ ๋ฆฌ๋Š” ์ „ํ˜•์ ์ธ ํ˜„๋Œ€์˜ ๋ฌผ์งˆ๋กœ ๊ฐ๊ด‘์„ ๋ฐ›๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
07:06
By the mid-20th century,
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๊ทธํ›„ 20์„ธ๊ธฐ ์ค‘๋ฐ˜์— ์™€์„œ๋Š”
07:07
it had come to dominate the downtowns of some American cities,
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์ผ๋ถ€ ๋ฏธ๊ตญ ๋„์‹œ์˜ ์ค‘์‹ฌ์ง€๋ฅผ ์œ ๋ฆฌ๊ฐ€ ๋ฎ์–ด๋ฒ„๋ฆฌ๊ฒŒ ๋˜์—ˆ์ฃ .
07:11
largely through some really spectacular office buildings
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์‹ค๋กœ ๊ฑฐ๋Œ€ํ•œ ์‚ฌ๋ฌด์šฉ ๊ฑด๋ฌผ์˜ ๋Œ€๋ถ€๋ถ„์— ์œ ๋ฆฌ๊ฐ€ ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
07:14
like Lever House in midtown Manhattan, designed by Skidmore, Owings and Merrill.
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์Šคํ‚ค๋“œ ๋ชจ์–ด, ์˜ค์œ™์Šค์™€ ๋ฉ”๋ฆด์ด ์„ค๊ณ„ํ•œ ๋งจํ•˜ํƒ„์˜ ๋ ˆ๋ฒ„ํ•˜์šฐ์Šค๊ฐ€ ๋Œ€ํ‘œ์ ์ด์ฃ .
07:19
Eventually, the technology advanced to the point
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์œ ๋ฆฌ๊ฐ€๊ณต ๊ธฐ์ˆ ์ด ๋ฐœ์ „ํ•˜๋ฉด์„œ ๋งˆ์นจ๋‚ด
07:22
where architects could design structures so transparent
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๊ฑด์ถ•๊ฐ€๋“ค์€ ๊ต‰์žฅํžˆ ํˆฌ๋ช…ํ•œ ๊ตฌ์กฐ๋ฌผ์„ ์„ค๊ณ„ํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
07:25
they practically disappear.
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๋ฒฝ์ด ์•„์˜ˆ ์‚ฌ๋ผ์กŒ์ฃ .
07:28
And along the way,
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์ด๋Ÿฌํ•œ ๋ฐœ์ „๊ณผ ๋งž๋ฌผ๋ ค
07:29
glass became the default material of the high-rise city,
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์œ ๋ฆฌ๋Š” ๊ณ ๋„์„ฑ์žฅ ๋„์‹œ์˜ ๊ธฐ๋ณธ ๊ฑด์ถ•์žฌ๋กœ ๋– ์˜ค๋ฆ…๋‹ˆ๋‹ค.
07:34
and there's a very powerful reason for that.
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๋ฌผ๋ก  ๊ฑฐ๊ธฐ์—๋Š” ๋ช…ํ™•ํ•œ ์ด์œ ๊ฐ€ ์กด์žฌํ•ฉ๋‹ˆ๋‹ค.
07:37
Because as the world's populations converge on cities,
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์„ธ๊ณ„์ ์œผ๋กœ ์ธ๊ตฌ๊ฐ€ ๋„์‹œ๋กœ ๋ชฐ๋ ค๋“ค๋ฉด์„œ
07:41
the least fortunate pack into jerry-built shantytowns.
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์ €์†Œ๋“์ธต์€ ๋‚ ๋ฆผ์œผ๋กœ ์ง€์€ ํŒ์ž์ดŒ์—๊นŒ์ง€ ๋ชจ์—ฌ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
07:45
But hundreds of millions of people need apartments and places to work
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๊ทธ๋Ÿฌ๋ฉด์„œ ์ˆ˜๋ฐฑ๋งŒ์˜ ์‚ฌ๋žŒ๋“ค์ด ์ง€๋‚ผ ์•„ํŒŒํŠธ๋‚˜ ๊ฑด๋ฌผ์˜ ์ˆ˜์š”๊ฐ€ ์ƒ๊ฒจ๋‚ฌ์ฃ .
07:49
in ever-larger buildings,
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๋” ํฐ ๊ฑด๋ฌผ์ด ํ•„์š”ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์—
07:50
so it makes economic sense to put up towers
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๊ฒฝ์ œ์„ฑ ์ธก๋ฉด์—์„œ ๊ณ ์ธตํ™”๋˜์—ˆ๊ณ 
07:53
and wrap them in cheap and practical curtain walls.
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์ €๋ ดํ•˜๋ฉด์„œ๋„ ์‹ค์šฉ์ ์ธ ์žฌ๋ฃŒ๋กœ ๊ฑด๋ฌผ ์™ธ๋ฒฝ์„ ๋งˆ๊ฐํ•ด์•ผ ํ–ˆ์ฃ .
07:57
But glass has a limited ability
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ํ•˜์ง€๋งŒ ์œ ๋ฆฌ๋Š” ์–ด๋–ค ์ ์—์„œ ํ•œ๊ณ„๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
08:00
to be expressive.
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ํ‘œํ˜„๋ ฅ์˜ ํ•œ๊ณ„์ฃ .
08:03
This is a section of wall framing a plaza
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์ด๊ฒƒ์€ ์–ด๋Š ๊ด‘์žฅ์˜ ์™ธ๋ฒฝ ๋ชจ์Šต์ธ๋ฐ์š”.
08:05
in the pre-Hispanic city of Mitla, in southern Mexico.
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๋ผํ‹ด ์•„๋ฉ”๋ฆฌ์นด๊ณ„ ์ด์ „์˜ ๋„์‹œ์ธ ๋ฉ•์‹œ์ฝ” ๋‚จ๋ถ€ ๋ฏธํ‹€๋ผ์˜ ๊ด‘์žฅ์ž…๋‹ˆ๋‹ค.
08:10
Those 2,000-year-old carvings
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2000๋…„์ด๋‚˜ ๋œ ์ด ์กฐ๊ฐ์„ ๋ณด๋ฉด
08:11
make it clear that this was a place of high ritual significance.
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์ด๊ณณ์ด ์˜์‹์ ์œผ๋กœ ๊ต‰์žฅํžˆ ์ค‘์š”ํ•œ ์žฅ์†Œ์ž„์„ ๋ช…ํ™•ํžˆ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:17
Today we look at those and we can see a historical and textural continuity
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์ด๋Ÿฐ ์š”์†Œ๋“ค์„ ํ†ตํ•ด ๊ณผ๊ฑฐ ์—ญ์‚ฌ์™€ ๊ตฌ์กฐ๋ฌผ ๊ฐ„์˜ ์—ฐ์†์„ฑ์„ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ์ฃ .
08:22
between those carvings, the mountains all around
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์™ธ๋ฒฝ์˜ ์กฐ๊ฐ๋“ค๊ณผ ์ฃผ๋ณ€์˜ ์‚ฐ์•… ์ง€ํ˜•์ด ์ด์–ด์ง€๊ณ 
08:25
and that church which is built on top of the ruins
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๊ทธ ์œ ์„œ๊นŠ์€ ์žฅ์†Œ์˜ ์ •์ƒ์— ์ง€์–ด์ง„ ๊ตํšŒ๋Š”
08:29
using stone plundered from the site.
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์ฃผ๋ณ€ ์ง€์—ญ์˜ ์„์žฌ๋กœ ์„ธ์›Œ์กŒ์Šต๋‹ˆ๋‹ค.
08:32
In nearby Oaxaca, even ordinary plaster buildings
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๋ฉ•์‹œ์ฝ” ๋‚จ๋ถ€ ์˜ค์•…์‚ฌ์นด ์ฃผ์˜ ์„ํšŒ ์™ธ๋ฒฝ ๊ฑด๋ฌผ๋“ค์€
08:35
become canvasses for bright colors, political murals
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๊ทธ ์ž์ฒด๊ฐ€ ์บ”๋ฒ„์Šค๊ฐ€ ๋˜์–ด
๋ฐ์€ ์ƒ‰์ƒ, ์ •์น˜์  ๋ฉ”์‹œ์ง€์˜ ๋ฒฝํ™”, ์„ธ๋ จ๋œ ๊ทธ๋ž˜ํ”ฝ ์˜ˆ์ˆ ๊นŒ์ง€ ๋‹ด์•„๋ƒ…๋‹ˆ๋‹ค.
08:39
and sophisticated graphic arts.
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08:42
It's an intricate, communicative language
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๊ฑด๋ฌผ์ด ์„ฌ์„ธํ•œ ์˜์‚ฌ์†Œํ†ต์˜ ์ˆ˜๋‹จ์ด ๋˜๊ณ  ์žˆ์ฃ .
08:46
that an epidemic of glass would simply wipe out.
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์œ ๋ฆฌ ๊ฑด๋ฌผ์ด ๋„˜์ณ๋‚˜๋Š” ๋„์‹œ์—์„œ๋Š” ๋ณผ ์ˆ˜ ์—†๋Š” ๊ด‘๊ฒฝ์ž…๋‹ˆ๋‹ค.
08:49
The good news is that architects and developers
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๋‹คํ–‰์ธ ๊ฒƒ์€ ๊ฑด์ถ•๊ฐ€์™€ ๊ฐœ๋ฐœ๋‹ด๋‹น์ž๋“ค ์‚ฌ์ด์—์„œ
08:52
have begun to rediscover the joys of texture
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๋‹ค์–‘ํ•œ ๊ฑด์ถ•์žฌ๋ฃŒ์˜ ๊ฐ€์น˜๋ฅผ ์žฌ์กฐ๋ช…ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค๋Š” ์ ์ž…๋‹ˆ๋‹ค.
08:55
without backing away from modernity.
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ํ˜„๋Œ€์  ๊ฐ์„ฑ์„ ์œ ์ง€ํ•˜๋ฉด์„œ๋„ ๋ง์ด์ฃ .
08:58
Some find innovative uses for old materials like brick
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๋ฒฝ๋Œ์ฒ˜๋Ÿผ ์˜ค๋žœ ์—ญ์‚ฌ๋ฅผ ์ง€๋‹Œ ์žฌ๋ฃŒ๋“ค์„ ์ƒˆ๋กญ๊ฒŒ ํ™œ์šฉํ•œ ๊ฒฝ์šฐ๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
09:03
and terra-cotta.
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ํ…Œ๋ผ์ฝ”ํƒ€๋„ ๋งˆ์ฐฌ๊ฐ€์ง€์ฃ .
09:05
Others invent new products like the molded panels that Snรธhetta used
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๋…ธ๋ฅด์›จ์ด์˜ ์Šค๋…ธํ—คํƒ€๊ฐ€ ๊ฐœ๋ฐœํ•œ ๊ณต์žฅ์ œ์ž‘ ์™ธ๋ฒฝ ํŒจ๋„ ์ œํ’ˆ์€
09:10
to give the San Francisco Museum of Modern Art
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์ƒŒํ”„๋ž€์‹œ์Šค์ฝ” ํ˜„๋Œ€๋ฏธ์ˆ ๊ด€์˜ ๊ฑด์„ค์— ์ ์šฉ๋˜์—ˆ๊ณ 
09:13
that crinkly, sculptural quality.
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๊ฑด๋ฌผ์ด ๋งˆ์น˜ ์กฐ๊ฐ๋œ ์ž‘ํ’ˆ ๊ฐ™์€ ๋Š๋‚Œ์„ ์ค๋‹ˆ๋‹ค.
09:16
The architect Stefano Boeri even created living facades.
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๊ฑด์ถ•๊ฐ€ ์Šคํ…ŒํŒŒ๋…ธ ๋ณด์—๋ฆฌ๋Š” ๋” ๋‚˜์•„๊ฐ€ ์‚ด์•„์žˆ๋Š” ๊ฑด๋ฌผ์„ ์ฐฝ์กฐํ•ด๋ƒˆ์Šต๋‹ˆ๋‹ค.
09:20
This is his Vertical Forest, a pair of apartment towers in Milan,
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"์ˆ˜์ง์˜ ์ˆฒ"์ด๋ผ๋Š” ์ด๋ฆ„์˜ ์ด ํ•œ์Œ์˜ ์ฃผ๊ฑฐ ๊ฑด๋ฌผ์€
09:24
whose most visible feature is greenery.
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๊ทธ์•ผ๋ง๋กœ ๋…น์ƒ‰ ์‹๋ฌผ์˜ ํ˜•์ƒ์ด์ฃ .
09:27
And Boeri is designing a version of this for Nanjing in China.
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ํ˜„์žฌ ๊ทธ๋Š” ์ค‘๊ตญ ๋‚œ์ง•์—์„œ ์ด์™€ ๋น„์Šทํ•œ ์ž‘ํ’ˆ์„ ์„ค๊ณ„์ค‘์ด๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
09:32
And imagine if green facades were as ubiquitous as glass ones
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์ด๋Ÿฐ ๋…น์ƒ‰ ์™ธ๋ฒฝ์˜ ๊ฑด๋ฌผ๋“ค์ด ์œ ๋ฆฌ๊ฑด๋ฌผ๋“ค ๋งŒํผ์ด๋‚˜ ๋งŽ์•„์ง„๋‹ค๋ฉด
09:37
how much cleaner the air in Chinese cities would become.
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์ค‘๊ตญ์˜ ๋Œ€๊ธฐ๊ฐ€ ์–ผ๋งˆ๋‚˜ ๊นจ๋—ํ•ด์งˆ์ง€ ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
09:41
But the truth is that these are mostly one-offs,
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ํ•˜์ง€๋งŒ ์ด๋Ÿฐ ์‚ฌ๋ก€๊ฐ€ ๋Œ€๋ถ€๋ถ„ ์ผํšŒ์„ฑ์— ๊ทธ์น˜๋Š” ๊ฒƒ์ด ํ˜„์‹ค์ž…๋‹ˆ๋‹ค.
09:44
boutique projects,
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์ด๋Ÿฐ ๋ฏธํ•™์  ํ”„๋กœ์ ํŠธ๋ฅผ
09:45
not easily reproduced at a global scale.
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์„ธ๊ณ„์  ์›€์ง์ž„์œผ๋กœ ํ™•์‚ฐ์‹œํ‚ค๊ธฐ๋Š” ์‰ฝ์ง€ ์•Š์ฃ .
09:49
And that is the point.
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๋ฐ”๋กœ ๊ฑฐ๊ธฐ์— ์‹œ์‚ฌ์ ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:52
When you use materials that have a local significance,
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๊ทธ ์ง€์—ญ์—์„œ ์–ป์–ด์ง€๋Š” ์žฌ๋ฃŒ๋ฅผ ๊ฑด์ถ• ์ž์žฌ๋กœ ์‚ฌ์šฉํ•œ๋‹ค๋ฉด
09:55
you prevent cities from all looking the same.
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๋„์‹œ์˜ ๋ชจ์Šต์ด ๋˜‘๊ฐ™์•„์ง€๋Š” ๊ฒƒ์„ ๋ง‰์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:58
Copper has a long history in New York --
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์˜ˆ๋ฅผ ๋“ค์–ด, ๋‰ด์š•์€ ๊ตฌ๋ฆฌ ์‚ฌ์šฉ์˜ ์˜ค๋žœ ์—ญ์‚ฌ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
10:01
the Statue of Liberty,
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์ž์œ ์˜ ์—ฌ์‹ ์ƒ๋„ ๊ทธ๋ ‡์ฃ .
10:03
the crown of the Woolworth Building --
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์šธ์›Œ์Šค ๋นŒ๋”ฉ์˜ ์ฒจํƒ‘๋„ ๊ทธ๋ ‡๊ณ ์š”.
10:06
but it fell out of fashion for a long time
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ํ•˜์ง€๋งŒ ์‹œ๊ฐ„์ด ํ๋ฅด๋ฉด์„œ ์œ ํ–‰์— ๋’ค์ณ์ง„ ์žฌ๋ฃŒ๋กœ ์ทจ๊ธ‰๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
10:09
until SHoP Architects used it to cover the American Copper Building,
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๋‰ด์š• ๊ฑด์ถ•ํšŒ์‚ฌ ์ˆ์—์„œ ์ฝ”ํผ ๋นŒ๋”ฉ์— ๊ตฌ๋ฆฌ๋ฅผ ์“ฐ๊ธฐ ์ „๊นŒ์ง€๋Š” ๋ง์ด์ฃ .
10:13
a pair of twisting towers on the East River.
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์ด์ŠคํŠธ ๊ฐ•๋ณ€์— ์žˆ๋Š” ํ•œ ์Œ์˜ ํœ˜์–ด์ง„ ๊ฑด์ถ•๋ฌผ์ž…๋‹ˆ๋‹ค.
10:16
It's not even finished
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์•„์ง ๊ณต์‚ฌ์ค‘์ด์ง€๋งŒ
10:18
and you can see the way sunset lights up that metallic facade,
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์ผ๋ชฐ์ด ๊ธˆ์† ์žฌ์งˆ์˜ ๊ฑด๋ฌผ์„ ๋น„์ถœ ๋•Œ ๋‚˜ํƒ€๋‚˜๋Š” ๊ด‘๊ฒฝ์„ ๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:22
which will weather to green as it ages.
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๊ทธ๋ฆฌ๊ณ  ์‹œ๊ฐ„์ด ์ง€๋‚˜๋ฉด์„œ ์ž์—ฐํžˆ ๋…น์ƒ‰์˜ ๊ตฌ๋ฆฌ๋น›์„ ๋‚ผ ๊ฒ๋‹ˆ๋‹ค.
10:25
Buildings can be like people.
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๊ฑด์ถ•๋ฌผ์€ ์‚ฌ๋žŒ๊ณผ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
10:27
Their faces broadcast their experience.
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๊ฒฝํ—˜์ด ์–ผ๊ตด์— ๋‹ค ๋‚˜ํƒ€๋‚œ๋‹ค๋Š” ์ ์—์„œ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
10:31
And that's an important point,
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๊ต‰์žฅํžˆ ์‹œ์‚ฌํ•˜๋Š” ๋ฐ”๊ฐ€ ํฌ์ง€์š”.
10:32
because when glass ages,
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์™œ๋ƒํ•˜๋ฉด, ์œ ๋ฆฌ๋Š” ๋‚ก์œผ๋ฉด
10:35
you just replace it,
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๊ทธ๋ƒฅ ๊ต์ฒดํ•˜๋ฉด ๋ฉ๋‹ˆ๋‹ค.
10:37
and the building looks pretty much the same way it did before
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๊ทธ๋Ÿฌ๋ฉด ๊ฑด๋ฌผ์€ ๊ทธ ์ด์ „๊ณผ ๋˜‘๊ฐ™์•„ ๋ณด์ด๊ฒ ์ง€์š”.
10:40
until eventually it's demolished.
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๋งˆ์นจ๋‚ด ๊ทธ ๊ฑด๋ฌผ์ด ์ฒ ๊ฑฐ๋˜๊ธฐ ์ „๊นŒ์ง€์š”.
10:41
Almost all other materials have the ability
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๋Œ€๋ถ€๋ถ„์˜ ๊ฑด์ถ•์žฌ๋“ค์€ ์ €๋งˆ๋‹ค ํŠน๋ณ„ํ•œ ์„ฑ์งˆ์ด ์žˆ๋Š”๋ฐ์š”.
10:44
to absorb infusions of history and memory,
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์—ญ์‚ฌ์™€ ๊ธฐ์–ตํ•  ์ˆœ๊ฐ„ ์ˆœ๊ฐ„๋“ค์ด ๊ทธ ๋ฌผ์งˆ์— ์Šค๋ฉฐ๋“ค์–ด ์žˆ๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
10:48
and project it into the present.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ์ˆœ๊ฐ„์ด ๋ฐ”๋กœ ์ง€๊ธˆ์˜ ๊ฑด์ถ•๋ฌผ์— ๋‚˜ํƒ€๋‚˜ ์žˆ๋Š” ๊ฒ๋‹ˆ๋‹ค.
10:52
The firm Ennead
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๊ฑด์ถ•ํšŒ์‚ฌ ์—๋„ค๋“œ์ž…๋‹ˆ๋‹ค.
10:54
clad the Utah Natural History Museum in Salt Lake City in copper and zinc,
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์†”ํŠธ๋ ˆ์ดํฌ ์‹œํ‹ฐ์˜ ์œ ํƒ€ ์ž์—ฐ์‚ฌ ๋ฐ•๋ฌผ๊ด€์„ ์ง€์œผ๋ฉด์„œ ๊ตฌ๋ฆฌ์™€ ์•„์—ฐ์„ ์‚ฌ์šฉํ–ˆ๊ณ 
10:59
ores that have been mined in the area for 150 years
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์ธ๊ทผ์— 150๋…„๊ฐ„ ๋ฌปํ˜€์žˆ๋˜ ๊ด‘์„์„ ์™ธ์žฅ์žฌ๋กœ ์ผ์Šต๋‹ˆ๋‹ค.
11:05
and that also camouflage the building against the ochre hills
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๊ทธ ๋•Œ๋ฌธ์— ๊ทธ ๊ฑด๋ฌผ์€ ์ฃผ๋ณ€์˜ํ™ฉํ† ์ƒ‰ ์–ธ๋•๊ณผ ๊ฐ์ชฝ๊ฐ™์ด ์–ด์šธ๋ฆฝ๋‹ˆ๋‹ค.
11:09
so that you have a natural history museum
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๊ฒฐ๊ณผ์ ์œผ๋กœ ์ž์—ฐ์‚ฌ ๋ฐ•๋ฌผ๊ด€์ด
11:11
that reflects the region's natural history.
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์ง€์—ญ์˜ ์ž์—ฐ์‚ฌ๋ฅผ ์žˆ๋Š” ๊ทธ๋Œ€๋กœ ๋ณด์—ฌ์ฃผ๋Š” ์…ˆ์ด ๋˜์—ˆ์ฃ .
11:15
And when the Chinese Pritzker Prize winner Wang Shu
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ํ”„๋ฆฌ์ธ ์ปค ์ˆ˜์ƒ์ž์ธ ์ค‘๊ตญ ๊ฑด์ถ•๊ฐ€ ์™•์Šˆ๋Š”
11:18
was building a history museum in Ningbo,
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๋‹๋ณด์— ์—ญ์‚ฌ ๋ฐ•๋ฌผ๊ด€์„ ์„ธ์šฐ๋ฉด์„œ
11:21
he didn't just create a wrapper for the past,
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๋‹จ์ˆœํžˆ ๊ณผ๊ฑฐ์˜ ์‚ฐ๋ฌผ์„ ํฌ์žฅํ•˜๋ ค๊ณ  ํ•˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
11:24
he built memory right into the walls
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๊ทธ๋Š” ๋ฒฝ๋ฉด์— ๋ชจ๋“  ๊ธฐ์–ต์„ ์•„๋กœ์ƒˆ๊ธฐ๊ณ  ์‹ถ์—ˆ์ฃ .
11:27
by using brick and stones and shingles
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๋ฒฝ๋Œ, ์„์žฌ, ์ง€๋ถ• ๋„์„ ํ™œ์šฉํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๊ตฌ์ƒํ•˜๊ณ 
11:31
salvaged from villages that had been demolished.
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๋‹น์‹œ ์ฃผ๋ณ€ ๋งˆ์„ ์ฒ ๊ฑฐ ๊ณผ์ •์—์„œ ๋‚˜์˜จ ์ž์žฌ๋“ค์„ ํ™œ์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
11:36
Now, architects can use glass
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์˜ค๋Š˜๋‚ , ๊ฑด์ถ•๊ฐ€๋“ค์€ ์œ ๋ฆฌ๋ฅผ ์”๋‹ˆ๋‹ค.
11:39
in equally lyrical and inventive ways.
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์„œ์ •์ ์ด๋ฉด์„œ๋„ ๋™์‹œ์— ์ฐฝ์˜์ ์ธ ๋ฐฉ์‹์œผ๋กœ ๋ง์ด์ฃ .
11:41
Here in New York, two buildings,
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์˜ˆ๋ฅผ ๋“ค์–ด ๋‰ด์š•์˜ ์ด ๋‘ ๊ฑด๋ฌผ์€
11:43
one by Jean Nouvel and this one by Frank Gehry
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ํ•˜๋‚˜๋Š” ๊ฑด์ถ•๊ฐ€ ์žฅ ๋ˆ„๋ฒจ์ด ์ง€์—ˆ๊ณ  ์ด๊ฒƒ์€ ํ”„๋žญํฌ ๊ฒŒ๋ฆฌ์˜ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
11:46
face off across West 19th Street,
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์›จ์ŠคํŠธ 19๋ฒˆ๊ฐ€๋ฅผ ๋‘๊ณ  ์„œ๋กœ ๋งˆ์ฃผํ•˜๊ณ  ์žˆ๋Š”๋ฐ์š”.
11:49
and the play of reflections that they toss back and forth
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๊ฑด๋ฌผ์ด ์„œ๋กœ ๋ฐ˜์‚ฌ๋˜์–ด ๋น„์น˜๋Š” ๋ชจ์Šต์€
11:52
is like a symphony in light.
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๋งˆ์น˜ ๋น›์˜ ๊ตํ–ฅ๊ณก ๊ฐ™์Šต๋‹ˆ๋‹ค.
11:56
But when a city defaults to glass
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ํ•˜์ง€๋งŒ ํ•œ ๋„์‹œ์— ์œ ๋ฆฌ๊ฐ€ ๊ธฐ๋ณธ ๊ฑด์ถ•์ž์žฌ๋กœ ์“ฐ์ด๋ฉด์„œ
11:59
as it grows,
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๊ฑด์ถ•๋ฌผ์ด ๋Š˜์–ด๋‚œ๋‹ค๋ฉด
12:00
it becomes a hall of mirrors,
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๋งˆ์น˜ ๊ฑฐ์šธ๋ฐฉ ๊ฐ™์ด ๋˜์–ด๋ฒ„๋ฆด ๊ฒ๋‹ˆ๋‹ค.
12:02
disquieting and cold.
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๋ถˆ์•ˆํ•˜๊ณ  ์ฐจ๊ฐ€์šด ๋Š๋‚Œ์„ ์ฃผ๊ฒ ์ฃ .
12:05
After all, cities are places of concentrated variety
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๊ฒฐ๊ตญ ๋„์‹œ๋ผ๋Š” ๊ณต๊ฐ„์€ ๋‹ค์–‘์„ฑ์ด ์ง‘์ค‘์ ์œผ๋กœ ๋ชจ์ธ ๊ณณ์ž…๋‹ˆ๋‹ค.
12:11
where the world's cultures and languages and lifestyles
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ณณ์—์„œ ์„ธ๊ณ„ ๊ณณ๊ณณ์˜ ๋ฌธํ™”, ์–ธ์–ด, ์ƒํ™œ ๋ฐฉ์‹๋“ค์ด
12:16
come together and mingle.
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ํ•œ๋ฐ ๋ชจ์—ฌ ์–ด์šฐ๋Ÿฌ์ง€์ฃ .
12:18
So rather than encase all that variety
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๊ทธ๋ž˜์„œ ์ด๋Ÿฌํ•œ ๋‹ค์ฑ„๋กœ์šด ๊ฑด์ถ•๋ฌผ๋“ค์˜ ๋‹ค์–‘์„ฑ์„
12:22
and diversity in buildings of crushing sameness,
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ํš์ผํ™”๋ผ๋Š” ์ฐธ๋‹ดํ•œ ๊ฒฐ๊ณผ๋กœ ๊ฐ€์ ธ๊ฐ€์„  ์•ˆ๋ฉ๋‹ˆ๋‹ค.
12:26
we should have an architecture that honors the full range of the urban experience.
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๋„์‹œ์˜ ๋‹ค์ฑ„๋กœ์šด ๊ฒฝํ—˜์„ ๊ฐ€์น˜์žˆ๊ฒŒ ์—ฌ๊ธฐ๋Š” ๊ฑด์ถ•๋ฌผ์„ ์ฐฝ์กฐํ•ด์•ผ๋งŒ ํ•ฉ๋‹ˆ๋‹ค.
12:31
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
12:33
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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